Caricatures from the Franco-Prussian War and the Paris Commune (1870-71)

1870-1801年是欧洲历史上关键的一年。在法国，所谓的“可怕的一年”不仅包括普法战争中的重大军事失败，导致阿尔萨斯-莫泽尔被新统一的德意志帝国所失去，而且还包括1871年春巴黎公社的起义和血腥镇压。在意大利，法国军队撤军与德国军队作战，使得民族主义者在1870年9月为意大利占领了罗马，结束了教皇长达数千年的临时统治者角色。大英图书馆收藏了5000多幅漫画和图像，这些漫画和图像是对普法战争和巴黎公社的回应，为通过跨国镜头探索现代欧洲历史上的关键一年提供了一个独特的机会。这些图像大多是法国的，在巴黎制作，但也有相当数量的德国战争主题插图和漫画。1889年，书商Dulau和Co的所有者弗雷德里克·贾斯滕将这些藏品的主要部分捐赠给大英博物馆图书馆。朱斯滕有德国血统，可能有胡格诺血统。这些收藏使我们能够提出新的重要问题。艺术家和公关人员在多大程度上参与了普法战争、巴黎公社，甚至整个一年的欧洲活动？对比法国和德国的形象和反应，可以揭示交战国家的公众参与战争和公社错综复杂的历史的方式是什么？收藏和视觉文化的历史如何丰富我们对新兴的欧洲公共领域的理解？学生们将被邀请提出一个项目，使用以下一个或多个主题，将这些丰富的收藏带入更广泛的欧洲背景：版画作为1870-1年法德历史的来源。众所周知，在1871年之后的时期，法国和德国的国家往往是相互对比的。流行的印刷图像对发展相互冲突的国家认同有多重要？这本文集还允许探索被忽视的主题。例如，德国的图像包含了大量关于法国军队中殖民军队的种族刻板印象，这个主题在1914-18年被更多地探讨，而不是在这一时期。国际公众对印刷讽刺的评论。我们可以在多大程度上使用BL收藏中的图像的痕迹和出处，以及档案来源和其他类似的收藏(例如，剑桥、维多利亚与阿肯色州和海德堡)来重建19世纪70年代至80年代视觉新闻的交流和传播历史？我们能在多大程度上利用贾斯滕的收藏和其他与普法战争和公社有关的材料来了解19世纪末伦敦的欧洲新闻市场？收藏历史。我们对弗雷德里克·贾斯滕知之甚少，他是BL令人敬畏的漫画收藏家，但他是一个彻头彻尾的跨国人物。贾斯滕的收藏实践本身在多大程度上可以被理解为一种历史形式？贾斯滕在多大程度上寻求素材来理解不同的欧洲国家艺术家和公众如何解释和讽刺1870-1年的动乱？贾斯滕是如何分享他的收藏的，比如通过《雅典人报》的《文学八卦》专栏？

1870-1 was a pivotal year in European history. In France, the so-called 'terrible year' (année terrible) involved not only a momentous military defeat in the Franco-Prussian War, which brought the loss of Alsace-Moselle to the newly-unified German Empire, but also the insurrection and bloody suppression of the Paris Commune in spring 1871. In Italy, the withdrawal of French troops to fight the German armies allowed nationalists to capture Rome for Italy in September 1870, ending the Pope's millennium-long role as a temporal ruler.The British Library's collection of over 5,000 caricatures and images produced in response to the Franco-Prussian war and the Paris Commune provides a unique opportunity to explore a pivotal year in modern European history through a transnational lens. Most of these images are French and produced in Paris but there are also significant numbers of German, war-themed illustrations and caricatures. Frederick Justen, the owner of booksellers Dulau and Co, who was of German origin and possibly of Huguenot descent, donated the main part of this collection to the British Museum Library in 1889. These collections permit us to pose new and important questions. To what extent did artists and publicists engage with the Franco-Prussian War, Paris Commune, or even the year as a whole, as 'European' events? What can comparing French and German images and responses reveal about the way publics from warring nations engaged with the entangled histories of War and Commune? How can the histories of collecting and visual culture enrich our understanding of the emerging European public sphere?Students will be invited to propose a project that uses one or more of the following themes to bring this rich collection into a wider European context:Prints as sources for a Franco-German history of 1870-1. It is well-established that the French and German nations were often defined in contrast to one another in the period after 1871. How important was popular printed imagery to the development of conflicting national identities? This collection also permits the exploration of neglected themes. For example, the German images contain a wealth of often racially stereotyped representations of colonial troops in the French Army, a subject that has been explored more for 1914-18 than for this period. The international public for printed satire. To what extent can we use traces and provenances of the images in the BL's collection, alongside archival sources and other similar collections (e.g. Cambridge, V&A, and Heidelberg), to reconstruct the history of exchange and dissemination of visual news in the 1870s-'80s? How far can we use Justen's collection and other collections of material related to the Franco-Prussian War and the Commune to understand the market for European news in late nineteenth-century London?Collection history. We know relatively little about Frederick Justen, the collector of the BL's formidable caricature collection, but he was a thoroughly transnational figure. How far might Justen's collecting practice itself be understood as a form of history? To what extent did Justen pursue materials to understand how different European national artists and publics interpreted and satirised the tumult of 1870-1? How did Justen share the collections he had formed, for example through the 'Literary Gossip' column in The Athenaeum?